In more than 2600 photographs, professional dancers (from such companies as the American Ballet Theatre and the Jaffrey Ballet) demonstrate in sequence every movement in the classical repertoire, from the most basic to the most advanced. Each photograph is accompanied by a text that details appropriate teaching techniques and describes the proper execution of each step. Warren combines the best instructional aspects of several international schools, including Soviet, Danish and English. A glossary defines common dance terms, and a pronunciation guide provides phonetic transcriptions of French ballet terms. A chapter specially for teachers delineates a variety of methods classroom-tested by Warren, a teacher-training expert and former professional dancer with extensive credentials.

Love Dances: Loss and Mourning in Intercultural Collaboration explores global relationality within the realm of intercultural collaboration in contemporary dance. Author SanSan Kwan looks specifically at duets, focusing on "East" "West" pairings, and how dance artists from different cultural and movement backgrounds -Asia, the Asian diaspora, Europe, and the United States; trained in contemporary dance, hip hop, flamenco, Thai classical dance, kabuki, and butoh - find ways to collaborate. Kwan acknowledges the forces of dissension, prejudice, and violence present in any contact zone, but ultimately asserts that choreographic invention across difference can be an act of love in the face of loss and serve as a model for difficult, imaginative, compassionate global affiliation. Love Dances contends that the practice and performance of dance serves as a revelatory site for working across culture. Body-to-body interaction on the stage carries the potential to model everyday encounters across difference in the world.

In Dance for Sports, author, choreographer, and dance instructor Margo Apostolos offers a new training approach for athletes and coaches that synthesizes common techniques between athletics and dance. By utilizing this approach, in- and off-season athletes can improve efficiency and relaxation. Throughout the book, Apostolos shows the potential exchange between sport and dance in exercises that focus on overlapping physical components of both practices including flexibility, strength, coordination, agility, balance, and timing. She also demonstrates how dance serves sport as a cross training activity with additional opportunities for athletes to explore creativity, improvisation, and mindfulness. Discussion with athletes from several sports interweaves each chapter to expand the learning process and offer useful anecdotes. Based upon the author's decades-long career and extensive experience with athletes and coaches in sports from basketball to swimming to track and field, Dance for Sports provides a fully integrative guide for students and instructors alike.

Risk, Failure, Play illuminates the many ways in which competitive martial arts differentiate themselves from violence. Presented from the perspective of a dancer and writer, this book takes readers through the politics of everyday life as experienced through training in a range of martial arts practices such as jeet kune do, Brazilian jiu jitsu, kickboxing, Filipino martial arts, and empowerment self-defense. Author Janet OaShea shows how play gives us the ability to manage difficult realities with intelligence and demonstrates that physical play, with its immediacy and heightened risk, is particularly effective at accomplishing this task. Risk, Failure, Play also demonstrates the many ways in which physical recreation allows us to manage the complexities of our current social reality. Risk, Failure, Play intertwines personal experience with phenomenology, social psychology, dance studies, performance studies, as well as theories of play and competition in order to produce insights on pleasure, mastery, vulnerability, pain, agency, individual identity, and society. Ultimately, this book suggests that play allows us to rehearse other ways to live than the ones we see before us and challenges us to reimagine our social reality.

Further Steps 2 brings together New Yorka (TM)s foremost choreographers a " among them MacArthur a ~Geniusa (TM) award winners Meredith Monk and Bill T. Jones a " to discuss the past, present and future of dance in the US. In a series of exclusive and enlightening interviews, this diverse selection of artists discuss the changing roles of race, gender, politics, and the social environment on their work.

Bringing her own experience of the New York dance scene to her study, Constance Kreemer traces the lives and works of the following choreographers:

Lucinda Childs, Douglas Dunn, Molissa Fenley, Rennie Harris, Bill T. Jones, Kenneth King, Nancy Meehan, Meredith Monk, Rosalind Newman, Gus Solomons jr, Doug Varone, Dan Wagoner, Mel Wong and Jawole Zollar.

What are the arts? What functions do the arts serve in human life? There has been a surge of cognitive, biological, and evolutionary interest in the arts in recent years, most of it oriented towards individual artforms. However, there has been virtually no bridging work to integrate the arts under a single theoretical perspective. This book presents the first integrated cognitive account of the arts that unites visual art, theatre, literature, dance, and music into a single framework, with supporting discussions about creativity and aesthetics. Its comparative approach identifies both what is unique to each artform and what they share, shedding light on how the arts can combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While studies in the psychology of the arts tend to focus on perceptual processes and aesthetic responses alone, this book offers a holistic sensorimotor account that examines the full gamut of processes from creation to perception. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book unifies a number of topics that have not previously been fully related to one another, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. A unique volume providing a bold new approach to the integration of the arts, for academics or general readers of the arts, psychology, cognitive neuroscience, anthropology, and evolutionary studies.

Dancer, award-winning choreographer, show producer, stand-up comedienne, TV/Film actress and author, Norma Miller shares her touching historical memoir of Harlem's legendary Savoy Ballroom and the phenomenal music and dance craze that \u0022spread the power of swing across the world like Wildfire.\u0022 A dance contest winner by 14, Norma Miller became a member of Herbert White's Lindy Hoppers and a celebrated Savoy Ballroom Lindy Hop champion. Swingin' at the Savoy chronicles a significant period in American cultural history and race relations, as it glorifies the home of the Lindy Hop and he birthplace of memorable dance hall fads. Miller shares fascinating anecdotes about her youthful encounters with many of the greatest jazz legends in music history, including Ella Fitzgerald, Count Basie, Benny Goodman, Billie Holiday, Artie Shaw, Duke Ellington, Ethel Waters, and even boxer Joe Louis. Readers will experience the legend of the celebrated Harlem ballroom and the phenomenal Swing generation that changed music and dance history forever.

Nothing strikes the ear quite like a soprano singing in the sonic stratosphere. Whether thrilling, chilling, or repellent to the listener, the reaction to cascades of coloratura with climaxing high notes is strong. Coloratura-agile, rapid-fire singing-was originally essential for all singers, but its function changed greatly when it became the specialty of particular sopranos over the course of the nineteenth century. The central argument of Vocal Virtuosity challenges the historical commonplace that coloratura became an anachronism in nineteenth-century opera. Instead, the book demonstrates that melismas at mid-century were made modern. Coloratura became an increasingly marked musical gesture during the century with a correspondingly more specific dramaturgical function. In exploring this transformation, the book reveals the instigators of this change in vocal practice and examines the historical traces of Parisian singers who were the period's greatest exponents of vertiginous vocality as archetypes of the modern coloratura soprano. The book constructs the historical trajectory of coloratura as it became gendered the provenance of the female singer, while also considering what melismas can signify in operatic performance. As a whole, it argues that vocal virtuosity was a source of power for women, generating space for female authorship and creativity. In so doing, the book reclaims a place in history for the coloratura soprano.

While she is best remembered today as founder of the Philadelphia Ballet and the director and driving force behind the famous Littlefield School of Ballet, from which Balanchine drew the nucleus for his School of American Ballet, Catherine Littlefield (1905-51) and her oeuvre were in many ways emblematic of the full representation of dance throughout entertainments of the first half of the 20th century. From her early work as a teenager dancing for Florenz Ziegfeld to her later work in choreographing extravagant ice skating shows, a remarkable dance with 90 bicyclists for the 1940 World's Fair, and on television as resident choreographer for The Jimmy Durante Show, Littlefield was amongst the first choreographers to bring concert dance to broader venues, and her legacy lives on today in her enduring influence on generations of American ballet dancers. As the first biography of Littlefield, Catherine Littlefield: A Life in Dance traces her life in full from birth through childhood experiences dancing on the Academy of Music's grand stage, and from her foundation of the groundbreaking Philadelphia Ballet Company in 1935 to her later work in television and beyond. Littlefield counted among her many glamorous friends and colleagues writer Zelda Fitzgerald, conductor Leopold Stokowski, and composer Kurt Weill. This biography also provides an engrossing portrait of the remarkable Littlefield family, many of whom were instrumental to Catherine's success. With the unflagging support of her generous husband and indomitable mother, Littlefield gave shape to the course of American ballet in the 20th century long before Balanchine arrived in the United States.

Published in Valiz's new "Antennae" series devoted to new research in art, photography, architecture and design, "Moving Together" examines contemporary dance from both a practical and theoretical perspective. The author, Professor Rudi Laermans, analyzes three tendencies: pure dance, dance theater and (self-) reflexive dance. He proposes a theoretical framework for understanding how artistic cooperation figures into the creation of dance. Boasting a great design by the maverick Dutch studio Metahaven, "Moving Together" includes dialogues with some of the most influential names in contemporary dance spanning several generations: Anne Teresa De Keersmaeker, founder of the cutting-edge dance company Rosas; Jerome Bel, the controversial and experimental French choreographer; William Forsythe, known internationally for his work with Ballett Frankfurt (1984-2004) and The Forsythe Company (2005-present); as well as many others dance innovators.

Functional Awareness: Anatomy in Action for Dancers is where anatomy meets artistry. Each chapter provides explorations in embodied anatomy in an engaging manner with the use of images, storytelling, and experiential exercises. It is an accessible introduction to the relationship between daily movement habits, dance training and anatomy. The information is founded on over 30,000 hours of experience teaching and training dancers to generate efficient exertion and appropriate recuperation. Functional Awareness: Anatomy in Action for Dancers employs somatic practices along with explorations in experiential anatomy to awaken the body-mind connection and improve movement function. The book applies the Functional Awareness (R) approach to improve dance technique and provide skills to enable the dancer to move with balance and grace in the classroom, on stage, and in daily life.

Human movement influences an individual's perceptions and ability to interact with the world. Through exercises, illustrations, and detailed anatomical drawings, this remarkable book guides the reader toward total body integration. An experimental approach to movement fundamentals involving the patterning of connections in the body according to principles of efficient movement, the process of total body integration encourages personal expression and full psychological involvement. Such work, begun by Irmgard Bartenieff and now known as Bartenieff's Fundamentals, is developed by Peggy Hackney, one of Bartenieff's close colleagues, in Making Connections. By examining what is truly fundamental in human movement, Hackney's pioneering study explores inner connections through specific body movements and shares the process for releasing the sensations and feelings that such movements bring forth.

From the mid-1920s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain - a place rivalled only by the cinema and eventually to eclipse even that institution in popularity. Going to the Palais examines the history of this vital social and cultural institution, exploring the dances, dancers, and dance venues that were at the heart of one of twentieth-century Britain's most significant leisure activities. Going to the Palais has several key focuses. First, it explores the expansion of the dance hall industry and the development of a 'mass audience' for dancing between 1918 and 1960. Second, the impact of these changes on individuals and communities is examined, with a particular concentration on working and lower-middle-class communities, and on young men and women. Third, the cultural impact of dancing and dance halls is explored. A key aspect of this debate is an examination of how Britain's dance culture held up against various standardizing processes (for example, commercialization, Americanization) over the period, and whether we can see the emergence of a 'national' dance culture. Finally, the volume offers an assessment of wider reactions to dance halls and dancing in the period. Going to the Palais is concerned with the complex relationship between discourses of class, culture, gender, and national identity and how they overlap - how cultural change, itself a response to broader political, social, and economic developments, was helping to change notions of class, gender, and national identity.

This edited collection draws on the conference, Attending to Movement: Somatic Perspectives on Living in this World, run at C-DaRE, the Centre for Dance Research, Coventry University, 12 - 14 July, 2013. Somatic practitioners, dance artists and scholars from a wide range of subject domains cross discipline borders and investigate the approaches that embodied thinking and action can offer to philosophical and socio-cultural inquiry. The book celebrates and builds upon the work of visionary dance artist, teacher and scholar Gill Clarke (1954 -2011), who championed the value of somatic approaches within and beyond dance education and creative practice. This collection of papers covers the themes of: Somatics in the wider social context Pedagogy/Education Intercultural Dialogues Lived lineages Interplay of practice and writing Partial Contents As my attention is wandering: A score for somatic enquiry - Carolyn Roy Not Without My Body: The Struggle of Dancers and Choreographers in the Middle East - Nadra Assaf Disorganising Principles: Corporeal Fragmentation and the Possibilities for Repair - Jennifer Roche Attending to ethics and aesthetics in dance - Fiona Bannon & Duncan Holt At dusk, the collaborative spills and cycles of L219 - Cath Cullinane, Natalie Garrett Brown, Christian Kipp & Amy Voris The Art of Making Choices: The Feldenkrais Method as a soma-critique - Thomas Kampe Motion Capture and The Dancer: Visuality, Temporality and the Dancing Image - Sarah Whatley The fool's journey and poisonous mushrooms - Adam Benjamin 'The daily round the common task': Embodied Practice and the Dance of the Everyday - Hilary Kneale Re-sourcing the body: embodied presence and self-care in working with others - Penny Collinson Thinking, Reflecting and Contemplating With the Body - Lalitaraja (Joachim Chandler) Mythbusting: Using the Alexander Technique to free yourself from detrimental misconceptions in the performing arts - Jennifer Mackerras & Jane Toms A Moving and Touching Career in Dance and Chiropractic - Duncan Holt Attending to movement: the need to make dance that was different to that which went before - Sara Reed Towards a constructive interaction between somatic education and introspective verbalization - Nicole Harbonnier-Topin & Helen Simard Choreographic Mobilities: Embodied Migratory Acts Across the US-Mexico Border - Juan Manuel Aldape Munoz Readership Designed as a guide and stimulus for: teachers, students and practitioners of dance and somatic practices researchers and academics in these fields.

The history of dance theory has never been told. Writers in every age have theorized prescriptively, according to their own needs and ideals, and theorists themselves having continually asserted the lack of any pre-existing dance theory. Dance Theory: Source Readings from Two Millenia of Western Dance revives and reintegrates dance theory as a field of historical dance studies, presenting a coherent reading of the interaction of theory and practice during two millennia of dance history. In fifty-five selected readings with explanatory text, this book follows the various constructions of dance theories as they have morphed and evolved in time, from ancient Greece to the twenty-first century. Dance Theory is a collection of source readings that, commensurate with current teaching practice, foregrounds dance and performance theory in its presentation of western dance forms. Divided into nine chapters organized chronologically by historical era and predominant intellectual and artistic currents, the book presents a history of an idea from one generation to another. Each chapter contains introductions that not only provide context and significance for the individual source readings, but also create narrative threads that link different chapters and time periods. Based entirely on primary sources, the book makes no claim to cite every source, but rather, in connecting the dots between significant high points, it attempts to trace a coherent and fair narrative of the evolution of dance theory as a concept in Western culture.

This choreographed book is dedicated to the phenomenon of the bare body in contemporary performance. This work of artistic research draws on philosophical, biopolitical, and ethical discourses relevant to the appearance of bare bodies in choreography, setting a framework for a reflexive movement between affect and ethics, sensuous address and response. Acts of exposure and concealment are culturally situated and anchored, and are examined for their methodological and nanopolitical significance. The concepts of anarchic responsibility and choreo-ethics lead to a reevaluation of contact, relationship, and solidarity. Choreography is thus understood as a complex field of revelatory experiences based on ecologies of aesthetic perception and ethico-political agency.

Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of "Giselle" at the Paris Opera (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opera during a period long celebrated for its box-office successes in both genres.

Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for "Giselle.""

Flexible Bodies honors the lives and labor of British South Asian dancers and celebrates their contributions to a distinct and dynamic sector of British dance. Drawing on expertise gained from over seven years dancing in Britain, author Anusha Kedhar presents a multifaceted picture of British South Asian dance as its own distinctive genre.Analyzing dance works, dance films, rehearsals, and touring - alongside immigration policy, arts funding initiatives, and global economic conditions - Flexible Bodies traces shifts in British South Asian dance from 1990s "Cool Britannia" multiculturalism to fallout from the 2008 global financial crisis and, more recently, the anti-immigration rhetoric leading up to the Brexit referendum in 2016. Kedhar draws on over a decade of interviews and conversations with dancers in Britain as well as in-depth choreographic analysis of major dance works to reveal the creative ways in which British South Asian dancers negotiate neoliberal, multicultural dance markets through an array of flexible bodily practices. Providing a new, critical dance studies lens through which to view the precarious economic, racial, national, and legal positions of South Asians in Britain,Flexible Bodies ultimately argues for centering dance labor in studies of neoliberalism.

This is a beginner's guide to choreography. Everything you need on one DVD! For the first time, stage choreography has been simplified so any beginner can visually learn all the essentials in one viewing! This DVD and workbook set makes a superb toolkit for building confidence in untrained dancers and teaching them the basics they need to participate in a choreographed dance number for any musical show. A convenient interactive menu of nine sections allows the user to see the step-by-step action over and over again as needed. The DVD shows inexperienced teens doing musical counting in action to fit both simple and advanced dance routines and musical styles. Dancer/narrator Adrea Gibs demonstrates how to add style to any dance pattern with body and hand movements. She defines the action of fun dance steps from the Charleston to the Shim Sham. An incomparable resource for creating an endless number of choreographic combinations. 45-minute DVD with workbook.

"This is an urgently needed book - as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument." - Andre Lepecki, New York University "May well prove to be one of Susan Foster's most important works." - Ramsay Burt, De Montford University, UK What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer's body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it? Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores. Foster examines the relationships between three central components in the experience of watching a dance - the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.

Before "Fred and Ginger," there was "Fred and Adele," a show-business partnership and cultural sensation like no other. In our celebrity-saturated era, it's hard to comprehend what a genuine phenomenon these two siblings from Omaha were. At the height of their success in the mid-1920s, the Astaires seemed to define the Jazz Age. They were Gershwin's music in motion, a fascinating pair who wove spellbinding rhythms in song and dance. In this book, the first comprehensive study of their theatrical career together, Kathleen Riley traces the Astaires' rise to fame from humble midwestern origins and early days as child performers on small-time vaudeville stages (where Fred, fatefully, first donned top hat and tails) to their 1917 debut on Broadway to star billings on both sides of the Atlantic. They became ambassadors of an art form they helped to revolutionize, adored by audiences, feted by royalty, and courted socially by elites everywhere they went. From the start, Adele was the more natural performer, spontaneous, funny, and self-possessed, while Fred had to hone his trademark timing and elegance through endless hours of rehearsal, a disciplined regimen that Adele loathed. Ultimately, Fred's dancing expertise surpassed his sister's, and their paths diverged: Adele married into British aristocracy, and Fred headed for Hollywood. The Astaires examines in depth the extraordinary story of this great brother-sister team, with full attention to its historical and theatrical context. It is not merely an account of the first part of Fred's long and illustrious career but one with its own significance. Born at the close of the 1800s, Fred and Adele grew up together with the new century, and when they reached superstardom during the interwar years, they shone as an affirmation of life and hope amid a prevailing crisis of faith and identity.

This anthology examines the origins, meanings, and enduring power of the powwow. Held on and off reservations, in rural and urban settings, powwows are an important vehicle for Native peoples to gather regularly. Although sometimes a paradoxical combination of both tribal and intertribal identities, they are a medium by which many groups maintain important practices. "Powwow" begins with an exploration of the history and significance of powwows, ranging from the Hochunk dances of the early twentieth century to present-day Southern Cheyenne gatherings to the contemporary powwow circuit of the northern plains. Contributors discuss the powwow's performative and cultural dimensions, including emcees, song and dance, the expression of traditional values, and the Powwow Princess. The final section examines how powwow practices have been appropriated and transformed by Natives and non-Natives during the past few decades. Of special note is the use of powwows by Native communities in the eastern United States, by Germans, by gay and lesbian Natives, and by New Agers.

The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.

First full-scale thematic analysis of Pina Bausch's Tanztheater, critically evaluating the impact of modernist theatre on her choreographic method This book presents a new reading of Pina Bausch's dance theatre, orienting it within an international legacy of performance practice. The discussion considers not only the influence of German and American modern dance on Bausch's work but, crucially, interrogates parallels with modernist and postdramatic theatre (including Antonin Artaud, Samuel Beckett, Jerzy Grotowski, and Robert Wilson), the influence of which has been largely neglected in existing studies of her oeuvre. Pina Bausch's Dance Theatre provides a wide-ranging study of Bausch's aesthetic and methods of practice, with case studies ranging from the beginning of her career to her final choreographies. Key Features The first full-scale study interrogating the relationship between Bausch's Tanztheater and modernist theatre practice, structured around a chronological framework of case study choreographies A new theorisation of the development of Bausch's oeuvre, locating her approach in a broader context of intercultural artistic exchange in the post-WWII period Draws on literary and theatre theory to form an interdisciplinary methodology for understanding and interrogating Bausch's oeuvre Based on extensive archival research and a specialised knowledge of the evolution of modern dance

Anne Bean: Self Etc. is the first major monograph about the performance work of artist Anne Bean, a noted international figure who has been working actively since the 1960s. Part of the Intellect Live series, co-published with the Live Art Development Agency, this book includes extensive visual documentation of Bean's performances, critical essays by leading scholars of art and performance and a series of new visual essays by the artist. Additional contributions include documentation of collaborations with influential artists, such as Bean's Drawn Conversations, made at Franklin Furnace, New York, in collaboration with Harry Kipper, Karen Finley, Kim Jones and Fiona Templeton; and TAPS: Improvisations with Paul Burwell, involving numerous artists, including Paul McCarthy, Steven Berkoff, Evan Parker, Brian Catling, Carlyle Reedy, Rose English, David Toop, Lol Coxhill, Jacky Lansley and Maggie Nicols. Lavishly illustrated and including previously unseen images, Anne Bean explores and expands the nature, form and contexts that artistic collaboration can take.